Not Just a Christmas Piece
The Metropolitan Singers and soloists will present Vivaldi’s “Gloria” on Sunday, April 19, at 10:00 AM, at Metropolitan Memorial Campus, accompanied by a baroque-style professional orchestra of violins, violas, cello, oboes, trumpets, bassoon, and double bass.
Vivaldi wrote three settings of the Gloria text found in Luke 2. Of his settings, one was lost, and this particular setting is the only one performed today, composed probably about 1715 for the orphanage of girls where he worked and was rediscovered in the early 20th century in a library. There is no indication of the occasion of its first performance.
Why sing the Gloria in the Easter season? The first portion of the Gloria text is found in Luke 2 as one of three hymns that Luke quotes in the nativity storyline. It was probably a hymn sung in his churches. Given the biblical narrative, it is often sung today at Advent and Christmas in both secular concerts and worship. The reality of its use might, however, surprise you.
The Gloria in its final form was placed in the Roman missal in the ordinary (compulsory) portion of the text in the seventh century, with additional text beyond Luke’s contribution probably written in the fourth century. Until the seventh century, it was only sung in the service outside Advent and Lent, since the words were not penitential in nature. The words of the Gloria stand alone in the drama of the Mass.
We have been discussing the Trinity as part of the Confirmation Class. The concept of the Trinity is sometimes hard to grasp; it is certainly true among seminarians. The Gloria describes the Trinity and gives praise for the persons of the Trinity. The praises begin as a general praise to the Trinity in the heavens. It was then followed by praises addressed to the Father (Creator) as heavenly king and omnipotent. The next section praises Jesus Christ (Redeemer) as the Son of God, the Father, and the Messiah and Redeemer. The Holy Spirit (Sustainer) added in at the end as one with the other persons of the Trinity.
Invite a friend or coworker and bring your family. We hope to see you there.
Vivaldi Gloria Program Notes
Vivaldi has a complicated history. His many instrumental concertos are standards in the repertoire. His choral and opera works are nearly forgotten. In researching Vivaldi in two major scholarly musical dictionaries, I found that nothing about his vocal works was discussed, despite the fact that his setting of the Gloria text is one of the most frequently performed works on the concert stage and in worship.
Probably written about 1715 for the girls’ orphanage in Venice as the music director. If his string and wind concertos are any indication, the girls in the orphanage were exceptional musicians. After his death, the manuscripts were placed in a library where they stayed until rediscovered in the early 20th century.
Despite appearing in the birth narrative as a song sung by an angelic chorus, the use of the text is not limited to December.
The origins of the initial portion of the Gloria text begin in the 1st century, as recorded in Luke’s gospel, possibly a hymn sung in his community. Additional passages were added in succeeding centuries. The final version of the text was added to the ordinary or compulsory part of the Roman liturgy in the 7th century. As a text, however, it is complete unto itself.
Rather than just being a text sung in December, the Gloria text is a description of the Trinity. The text is divided into 4 sections: a general praise to God; praise to God the Father as omnipotent creator of all things; Jesus Christ as the redeemer; and finally, the Holy Spirit as the third co-equal person of the Trinity.
Vivaldi sets the words to convey energy and scene. The entire orchestra gives a sense of momentous action in the beginning and the end, making use of Vivaldi’s preference for ritornello. Note, as well, the use of a solo oboe in a siciliano in “Domine Deus” giving the idea of a pastoral scene.